A second quotation from Hamlet in the two quartos illustrates the same point even better. The text in the left-hand column, merely stating the facts necessary to the movement of the scene, leaves to the actor all characterizing of Montano, and gives the player of Corambis only the barest hints. The second quarto text, in the right-hand column, makes Polonius so garrulous that he cannot keep track of his own ideas; shows his pride in his would-be shrewdness; indeed, rounds him out into a real character. It even makes Reynaldo a man who does not yield at once, but a person of honorable instincts who is overborne. Can there be any question which scene holds the attention better?
| Enter Corambis and Montano | Enter old Polonius, with his man or two |
| Corambis. Montano; here, these letters to my sonne, And this same money with my blessing to him, And bid him ply his learning good Montano. | Polonius. Give him this money and these notes Reynaldo. |
| Reynaldo. I will my Lord. | |
| Pol. You shall doe marviles wisely good Reynaldo Before you visite him to make inquire Of his behaviour. | |
| Montano. I will my lord. Cor. You shall do very well Montano, to say thus, I knew the gentleman, or know his father To inquire the manner of his life, And thus; being amongst his acquaintance, You may say, you saw him at such a time, marke you mee, | Rey. My Lord, I did intend it. Pol. Mary well said, very well said; look you sir, Enquire me first what Danskers are in Parris, And how, and who, what meanes and where they keepe, What companie, at what expence, and finding By this encompasment, and drift of question That they doe know my sonne, come you more neerer Then your particular demands will tuch it, Take you as t’were some distant knowledge of him, As thus, I know his father, and his friends, And in part him, doe you marke this, Reynaldo? Rey. I, very well my Lord. Pol. And in part him, but you may say, not well, But y’ft be he I meane, hee’s very wilde, Adicted so and so, and there put on him What forgeries you please, marry none so ranck As may dishonour him, take heede of that, But sir, such wanton, wild, and usuall slips As are companions noted and most knowne To youth and libertie. Rey. As gaming my Lord. |
| At game, or drincking, swearing, or drabbing, You may go so farre. Mon. My Lord, that will impeach his reputation. Cor. I faith not a whit, no not a whit, Now happely hee closeth with you in the consequence, As you may bridle it not disparage him a iote. What was I about to say. | Pol. I, or drinking, fencing, swearing. Quarrelling, drabbing, you may go so far. Rey. My Lord, that would dishonour him. Pol. Fayth as you may season it in the charge. You must not put another scandell on him, That he is open to incontinencie. That’s not my meaning, but breath his faults so quently That they may seeme the taints of libertie, The flash and out-breake of a fierie mind, A savagenes in unreclamed blood Of generall assault. Rey. But my good Lord. Pol. Wherefore should you do this? Rey. I my Lord, I would know that. Pol. Marry, sir, heer’s my drift, And I believe it is a fetch of wit, You laying these slight sallies on my sonne As t’were a thing a little soyld with working, Marke you, your partie in converse, him you would sound Having ever seene in the prenominat crimes The youth you breath of guiltie, be assur’d He closes with you in this consequence, Good sir, (or so,) or friend, or gentleman, According to the phrase, or the addition Of man and country. Rey. Very good my Lord. Pol. And then sir, doos a this, a doos, what was I about to say? By the masse I was about to say something, Where did I leave? |
| Mon. He closeth with you in the consequence. | Rey. At closes in the consequence.[3] |
Even the dialogue, which with broad characterization states necessary facts clearly, is by no means so effective as dialogue so absorbing by its characterization that we assimilate the facts unconsciously. Contrast the opening of The Good Natur’d Man with that of Hindle Wakes. The first is so busy in characterizing an absent but important figure that it presents the two speakers only in the broadest way. That is, exposition exists here as its only excuse for being. In Hindle Wakes, the rapid development of an interesting situation through two characters who as individuals become more distinct and interesting with every line, probably conceals from most auditors or readers the fact that seven important bits of information are given before Fanny enters.
ACT I
SCENE—An apartment in Young Honeywood’s house
Enter Sir William Honeywood, Jarvis
Sir William. Good Jarvis, make no apologies for this honest bluntness. Fidelity like yours is the best excuse for every freedom.
Jarvis. I can’t help being blunt, and being very angry, too, when I hear you talk of disinheriting so good, so worthy a young gentleman as your nephew, my master. All the world loves him.